“Ekk Deewana Tha”-Review
More than 50% of the Indians are below 25 years of age. There was a time in Indian cinema when stories were made of a girl and a boy, falling in love, and society and families and religions etc. would not let them be together. This went on to develop into films of the 1990s and Dilwale Dulhania Le Jaenge, Pardes kind of manipulated love stories came in. With the dawn of 21st century, cinema moved on with youngsters and characters started talking like the youth of this age. It was then, in those years, when even older actors stayed in their 20s on screen, or at-least pretended so and romanced younger heroines and tried to talk sense about love. But that doesn’t work now, and youngsters play youngsters and look and talk like them, which perhaps is the only good thing about “Ekk Deewana Tha” yet it doesn’t give up pretending, and that, it continues till the end.
Sachin shifts in a new house, with his family and falls for the landlord’s daughter Jessie, whose father is a hardcore cinema hating Christian and will not take a son in law from another religion, and that when Sachin is a Brahmin and a film maker wannabe, assistant to the director, thanks to his cinematographer friend & guide. From there on the 2 keep forcing, well, emotionally, each other on the other one with each other’s own nuisance values, for the rest of the film, with their families interfering intermittently at various points of time.
The problem with “Ekk Deewana Tha” lies in the idea, where love is interfered with families and aspirations and lead characters’ folly, where it is way too verbal to involve and ham fest goes on and on and on, Jessie’s uninspired characterization, where her attitude constantly fluctuates makes it all the more tiring to sit through the film and get disconnected.
Actors try really hard to talk like youngsters in love do, they sometimes succeed, most of the times they carry on with their histrionics, and of course, the triteness, “ye pyaar nahi hai toh fir kya hai” and likes of that delivered many times over and over again make it boring and put you off, interest is lost and for the most emotional scenes, well they are quite hilarious, though unintentionally but yes, they are.
The film looks good, rather gorgeous, if only the plot had not attempted to pretend to be an honest story of a passionate boy and a confused girl, which was terribly let down by mixing it with family drama and unenthusiastic dialogue, where even Rahman tries too hard and unwanted tunes are forced which seem completely out of place, background score is not something that you notice, rather feel, but if you have to notice it, then definitely something is done wrong. While songs are good but lyrics undo half of the possible effect.
Prateik Babbar is a good actor and tries really hard to convince us that he is passionate and vulnerable, he brings honesty but his performance many times breaks the line of subtlety, though he is the most likeable part of the film. Amy Jackson is hardly confident, her character and performance both of them are unconvincing. Manu Rishi is the only one who is satisfactory and some times, he does generate intentional hilarity. For the rest of the players, they do not have much to do and in such a disappointing film, they fail to register their existence let alone substantiality.
And it’s not like the subject of confused love, trouble among families of the couple and their senselessness is a bad idea for a film, if it is captured with far more clarity of thought and characters are much more natural and story formed around it is full of imagination, inventiveness. (Socha Na Tha anyone?)
Had “Ekk Deewana Tha” tried not too hard, taken it easy, visualized with variety oriented narrative and a better story to start with, it had not remained a caricature of a film that is a 90s romantic family film trying to be a fresh story about young lads confused and passionate at the same time, rather it could be a thoroughly entertaining film.
Cast: Prateik Babbar, Amy Jackson, Manu Rishi, Sachin Khedekar, Ramesh Sippy
Directed by: Gautham Vasudev Menon
Music by: AR Rahman
Produced by: Gautham Menon, Reshma Ghatala, Venkat Somasundaram